PHIL 1950: Philosophy in Current Events, Text, and Film Instructors: David Cunning Carrie Swanson Office: 257 EPB, MW 11:30-1 O

Total Page：16

File Type：pdf, Size：1020Kb

PHIL 1950: Philosophy in Current Events, Text, and Film Instructors: David Cunning Carrie Swanson office: 257 EPB, MW 11:30-1 or by appt. office: 256 EPB, by appt. [email protected] [email protected] This is a 1 semester-hour course in which students take part in a combination of movie screenings, Philosophy Club discussions, and philosophy department talks. The course requirements are attendance and participation at any eight events over the course of the semester, and also a posting to the course ICON discussion board for each of those eight attended events. The course is for a letter grade, though of course students can opt to take the course P/NP. The theme for spring will be aligned with the UI theme semester – Our Lives Online – and will focus on social issues surrounding technology and the internet and will include Ghost in the Shell, Blade Runner, Ex Machina, Minority Report, The Train, Walkabout, Quest for Fire, and 2001: A Space Odyssey. The movie screening will be on technology and internet-related issues, and the philosophy club meetings will feature episodes of the Netflix show, Black Mirror. The movies will be shown on Tuesday evenings at 6:30pm on the following dates in the Franklin Miller Screening Room (AJB 105) – Jan 24, Feb 7, Feb 21, Mar 7, Mar 21, Apr 4, Apr 18, May 2 – and they are also referenced in the schedule below. The ICON discussion board for each event will open within a day of the event, and the posts will be due six days later – one week after the event itself – at which time the board will close. SCHEDULE Week 1 no events Week 2 Tuesday January 24, 6:30 – movie screening, Ghost in the Shell. Week 3 Wednesday February 1, 3:30-5:00 – philosophy club, Black Mirror episode: NoseDive. Week 4 Tuesday February 7, 6:30 – movie screening, Blade Runner. Week 5 Wednesday February 15, 3:30-5:00 – philosophy club, Black Mirror episode: 15 Million Merits. Friday February 17, 3:30-5:00 – departmental colloquium, Diane Jeske, U Iowa. Week 6 Tuesday February 21, 6:30 – movie screening, Ex Machina. Week 7 Wednesday March 1, 3:30-5:00 – philosophy club, Black Mirror episode: San Junipero. Week 8 Tuesday March 7, 6:30 – movie screening, Minority Report. Week 9 Tuesday March 21, 6:30 – movie screening, The Train. Friday March 24, 3:30-5:30 – public lecture, Susan Brison, Dartmouth College. Week 10 Wednesday March 29, 3:30-5:00 – philosophy club, Black Mirror episode: Men Against Fire. Week 11 Tuesday April 4, 6:30 – movie screening, Walkabout. Friday April 7, 3:30-5:30 – departmental colloquium, Michael Huemer, CU Boulder. Saturday April 7, all day – UI Graduate Philosophical Society (UIGPS) Conference. - Note that students can get credit for attending two of the UIGPS talks. Week 12 Friday April 14, 3:30-5:30 – public lecture, Brian Leiter, U Chicago. Week 13 Tuesday April 18, 6:30 – movie screening, Quest for Fire [La Guerre du fue]. Week 14 Wednesday April 26, 3:30-5:00 – philosophy club, Black Mirror episode: TBA. Thursday April 27, 5:00-6:30 – public lecture, Lynne Rudder Baker, U Mass Amherst. Friday April 28, 3:30-5:30 – departmental colloquium, Lynne Rudder Baker, U Mass Amherst. Week 15 Tuesday May 2, 6:30 – movie screening, 2001: A Space Odyssey. Wednesday May 3, 3:30-5:30 – philosophy club meeting with pizza. .

Copy Link

Recommended publications

Fundamental Protections for Non-Biological Intelligences Or: How We Learn to Stop Worrying and Love Our Robot Brethren
Minnesota Journal of Law, Science & Technology Volume 19 Issue 1 Article 6 2018 Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren Ryan Dowell University of Minnesota Law School Follow this and additional works at: https://scholarship.law.umn.edu/mjlst Part of the Science and Technology Law Commons Recommended Citation Ryan Dowell, Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren, 19 MINN. J.L. SCI. & TECH. 305 (2018). Available at: https://scholarship.law.umn.edu/mjlst/vol19/iss1/6 The Minnesota Journal of Law, Science & Technology is published by the University of Minnesota Libraries Publishing. Note Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren Ryan Dowell* INTRODUCTION In the future, it is possible that humans will create machines that are thinking entities with faculties on par with humans. Computers are already more capable than humans at some tasks,1 but are not regarded as truly intelligent or able to think. Yet since the early days of computing, humans have contemplated the possibility of intelligent machines—those which reach some level of sentience.2 Intelligent machines could result from highly active and rapidly advancing fields of research, such as attempts to emulate the human brain, or to develop generalized artificial intelligence (AGI). If intelligent machines are created, it is uncertain whether intelligence would emerge through gradual development or a spontaneous © 2018 Ryan Dowell * JD Candidate 2018, University of Minnesota Law School; BS University of Kansas, 2013.
[Show full text]
Black Mirror
BLACK MIRROR "SAN JUNIPERO" FINAL SHOOTING SCRIPT Written By Charlie Brooker INCLUDING THE FOLLOWING REVISIONS: ** PINK REVISIONS - DATED 23.11.15 ** ** BLUE REVISIONS - DATED 02.12.15 ** Charlie Brooker C/o House of Tomorrow Shepherds Building Charecroft Way London W14 0EE (c) 2017 Black Mirror Drama Limited. All Rights Reserved This screenplay is the property of Black Mirror Drama Limited (“BMD”). Distribution or disclosure of any information of whatever nature in whatever form relating to the characters, story and screenplay itself obtained from any source including without limitation this screenplay or information received from BMD, to unauthorised persons, or the sale, copying or reproduction of this screenplay in any form is strictly prohibited. This Screenplay is intended to be read solely by BMD employees and individuals under contract to or individuals permitted by BMD. This screenplay contains confidential information and therefore is given for the review on a strictly confidential basis. By reading this screenplay you agree to be bound by a duty of confidence to BMD and its subsidiary companies. BLACK MIRROR "SAN JUNIPERO" 1. 1 EXT. SHORELINE - NIGHT 1 It’s 1987. Coastal California. Silhouetted mountains, moonlit sea. Lights twinkling near the shoreline. We move closer to see the lights of the town of San Junipero. Streetlights. Nightclubs and bars. Cars drifting up and down the main street. The vehicles date from 1987. There's a billboard advertising the movie The Witches of Eastwick. We move closer: 2 EXT. BARKER STREET - CONTINUOUS 2 This is San Junipero's main drag. Along the sidewalk we follow YORKIE, a slightly awkward woman in her early 20s, dressed so as not to stand out.
[Show full text]
Bernhardt Hamlet Cast FINAL
IMAGES AVAILABLE FOR DOWNLOAD HERE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF “BERNHARDT/HAMLET” FEATURING GOLDEN GLOBE NOMINEE DIANE VENORA AS SARAH BERNHARDT WRITTEN BY THERESA REBECK AND DIRECTED BY SARNA LAPINE ALSO FEATURING NICK BORAINE, ALAN COX, ISAIAH JOHNSON, SHYLA LEFNER, RAYMOND McANALLY, LEVENIX RIDDLE, PAUL DAVID STORY, LUCAS VERBRUGGHE AND GRACE YOO PREVIEWS BEGIN APRIL 7 - OPENING NIGHT IS APRIL 16 LOS ANGELES (February 24, 2020) – Geffen Playhouse today announced the full cast for its West Coast premiere of Bernhardt/Hamlet, written by Theresa Rebeck (Dead Accounts, Seminar) and directed by Sarna Lapine (Sunday in the Park with George). The production features Diane Venora (Bird, Romeo + Juliet) as Sarah Bernhardt. In addition to Venora, the cast features Nick BoraIne (Homeland, Paradise Stop) as Louis, Alan Cox (The Dictator, Young Sherlock Holmes) as Constant Coquelin, Isaiah Johnson (Hamilton, David Makes Man) as Edmond Rostand, Shyla Lefner (Between Two Knees, The Way the Mountain Moved) as Rosamond, Raymond McAnally (Size Matters, Marvelous and the Black Hole) as Raoul, Rosencrantz, and others, Levenix Riddle (The Chi, Carlyle) as Francois, Guildenstern, and others, Paul David Story (The Caine Mutiny Court Martial, Equus) as Maurice, Lucas Verbrugghe (Icebergs, Lazy Eye) as Alphonse Mucha and Grace Yoo (Into The Woods, Root Beer Bandits) as Lysette. It’s 1899, and the legendary Sarah Bernhardt shocks the world by taking on the lead role in Hamlet. While her performance is destined to become one for the ages, Sarah first has to conVince a sea of naysayers that her right to play the part should be based on ability, not gender—a feat as difficult as mastering Shakespeare’s most Verbose tragic hero.
[Show full text]
Semantic Network Analysis of Tweets About
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Hong, Yoorim Conference Paper How the discussion on a contested technology in Twitter changes: Semantic network analysis of tweets about cryptocurrency and blockchain technology 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018 Provided in Cooperation with: International Telecommunications Society (ITS) Suggested Citation: Hong, Yoorim (2018) : How the discussion on a contested technology in Twitter changes: Semantic network analysis of tweets about cryptocurrency and blockchain technology, 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018, International Telecommunications Society (ITS), Calgary This Version is available at: http://hdl.handle.net/10419/190383 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte.
[Show full text]
Emmy Nominations
69th Emmy Awards Nominations Announcements July 13, 2017 (A complete list of nominations, supplemental facts and figures may be found at Emmys.com) Emmy Noms to date Previous Wins to Category Nominee Program Network 69th Emmy Noms Total (across all date (across all categories) categories) LEAD ACTRESS IN A DRAMA SERIES Viola Davis How To Get Away With Murder ABC 1 3 1 Claire Foy The Crown Netflix 1 1 NA Elisabeth Moss The Handmaid's Tale Hulu 1 8 0 Keri Russell The Americans FX Networks 1 2 0 Evan Rachel Wood Westworld HBO 1 2 0 Robin Wright House Of Cards Netflix 1 6 0 LEAD ACTOR IN A DRAMA SERIES Sterling K. Brown This Is Us NBC 1 2 1 Anthony Hopkins Westworld HBO 1 5 2 Bob Odenkirk Better Call Saul AMC 1 11 2 Matthew Rhys The Americans FX Networks 2* 3 0 Liev Schreiber Ray Donovan Showtime 3* 6 0 Kevin Spacey House Of Cards Netflix 1 11 0 Milo Ventimiglia This Is Us NBC 1 1 NA * NOTE: Matthew Rhys is also nominated for Guest Actor In A Comedy Series for Girls * NOTE: Liev Schreiber also nominamted twice as Narrator for Muhammad Ali: Only One and Uconn: The March To Madness LEAD ACTRESS IN A LIMITED SERIES OR A MOVIE Carrie Coon Fargo FX Networks 1 1 NA Felicity Huffman American Crime ABC 1 5 1 Nicole Kidman Big Little Lies HBO 1 2 0 Jessica Lange FEUD: Bette And Joan FX Networks 1 8 3 Susan Sarandon FEUD: Bette And Joan FX Networks 1 5 0 Reese Witherspoon Big Little Lies HBO 1 1 NA LEAD ACTOR IN A LIMITED SERIES OR A MOVIE Riz Ahmed The Night Of HBO 2* 2 NA Benedict Cumberbatch Sherlock: The Lying Detective (Masterpiece) PBS 1 5 1
[Show full text]
Black Mirror
Quote “The alienation of the spectator to the profit of the contemplated object [...] is expressed in the following way: the more he contemplates the less he lives; the more he accepts recognizing himself in the dominant images of need, the less he understands his own existence and his own desires. [...] This is why the spectator feels at home nowhere, because the spectacle is everywhere.” “L’aliénation du spectateur au profit de l’objet contemplé [...] s’exprime ainsi : plus il contemple, moins il vit ; plus il accepte de se reconnaître dans les images dominantes du besoin, moins il comprend sa propre existence et son propre désir. [...] C’est pourquoi le spectateur ne se sent chez lui nulle part, car le spectacle est partout. “ Guy Debord – The Society of the Spectacle Cultural and literary studies Satire of contemporary technocratic world Black Mirror • Netflix original series since 2014 • 4 seasons • Dystopian satire • Side effects of our addiction to new technologies Objects of study • Nosedive (episode 1 season 3) • USS Callister (episode 1 season 4) • The Waldo Moment (episode 3 season 2) Questions • How does this dystopian satire shed light on the current society of the spectacle? • Is the satirical impact impaired by the use of cinematographic genres with traditional techniques? • Does the genre, as a medium for satire, become itself an object of satire? Nosedive, satire of social hypocrisy • Political correctness • Superficiality and obsession • Dependence and competition • Role of media and politics Nosedive, satire of Hollywood
[Show full text]
Running Head: PHILLIPS, BINARY REBOOT BINARY REBOOT A
Running Head: PHILLIPS, BINARY REBOOT BINARY REBOOT A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY JASON PHILLIPS CHRIS FLOOK ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2018 PHILLIPS, BINARY REBOOT CONTENTS Abstract……………………………………………………………………………………..3 Introduction/Description of Project…………………………………………………………4 Literature Review……………………………………………………………………………13 Production Method…………………………………………………………………………. .30 Conclusion/Discussion………………………………………………………………………49 References………………………………………………………………………………….. .51 Appendix A: Binary Reboot Shooting Script………………………………………………..64 Appendix B: Character Bios and Similar Characters………………………………………..93 Appendix C: Wardrobe Notes for Characters……………………………………………….98 Appendix D: Links to Playlists of Songs for Actresses…………………………………….101 2 PHILLIPS, BINARY REBOOT Abstract CREATIVE PROJECT: Binary Reboot DEGREE: Master of Arts COLLEGE: Communication, Information, and Media DATE: July 2018 PAGES: 101 My final creative project involved the production of a short narrative film titled Binary Reboot. The film is a sequel to and/or expansion of other films I have produced and screenplays I have written during my time in the digital storytelling program. As such, the film is not only a standalone piece, but also functions as a part of a shared fictional universe I have created. This paper discusses influences on the project, provides a review of literature on topics that the film thematically addresses, outlines the production
[Show full text]
Intro to Digital Tech & Emerging Media
DTEM 1401 Version 1.2 Fall 2019 INTRO TO DIGITAL TECH & EMERGING MEDIA Course Information The course Introduction to Digital Technology and Emerging Media offers a comprehensive overview of the possibilities of Course Schedule: Mon & Thu communication in a digital world. Through a series of readings, 10-11:15 pm lectures and assignments, students study the rhetoric, history, theory, and practice of new media. Location: FMH 301 As the digital media landscape is constantly evolving, this course will Instructor Contact take a specific interest in understanding the evolution of media technologies and investigate the emergence of older forms of “new” E-mail: [email protected] media, from the original internet to big data, from graphical user Twitter: @klangable interfaces to social media platforms. As we do so, we will focus on how we use digital media, and how that use impacts individual Phone: 718-817-4870 identities, connections between people, our knowledge levels, Office: Faculty Memorial Hall, relationships of power, and so on. Room 438 Office Hours: MR 12:30-2pm, Objectives email for appointment. The course will allow students to: How to email your professor • gain an understanding of core concepts of digital content, such as http://klangable.com/blog/? mobility, interactivity, networking, as well its technical components page_id=4746 and how it impacts communication and information. • historicize media technologies we consider(ed) “new” media. • understand and contribute to contemporary debates over changes in identity, sociality, the economy, education, and play associated with the emergence of new media. • recognize how digital media constantly impact and/or structure their everyday social interactions, identities, and seemingly- mundane or rote behaviors.
[Show full text]
Navigating the Self in Near Future Science Fiction Films Film Studies
Navigating the Self in Near Future Science Fiction Films Film Studies Undergraduate Research Thesis Elizabeth Riggs Dr. Ryan Friedman 1 Introduction The genre of science fiction has been around almost since the advent of film itself, beginning with George Méliè’s Trip to the Moon (1902). For many decades, science fiction books and films have looked outward to explore the cultural anxieties that threatened a society, whether they be alien invasions, rapid advancements in technology, or tension between nations and ideologies. Science fiction is defined as a genre that emphasizes actual, speculative, or extrapolative science, which in turn, interacts in a social context; the genre attempts to reconcile the unknown and examine the given reality (Sobchak). This paper will build upon the definition of science fiction, focusing on the importance of emerging science in a social context to understand how individuals are defining themselves against or through the science of their reality. As a whole, science fiction films have largely focused on the effects of society as a whole, however there has been a shift towards the end of the 20th century and the beginning of the the 21st, toward a focus on what it means to be an individual in a futuristic world. The films under study are The Truman Show (1998), Never Let Me Go (2004), Black Mirror (2011-2016), Under the Skin (2013), Her (2013), and Ex Machina (2015). These films take the more personal side of technology--artificial intelligence--to the personal sides of media--reality television and social media--and explore projected near futures from a humanistic perspective.
[Show full text]
Customer Ratings As a Vector for Discrimination in Employment Relations? Pathways and Pitfalls for Legal Remedies
Customer ratings as a vector for discrimination in employment relations? Pathways and pitfalls for legal remedies Marco Biagi Conference “Assessing Worker performance in a Changing Technological and Societal Environment”, Modena, 19-21 March 2018 ROSSANA DUCATO*, MIRIAM KULLMANN† and MARCO ROCCA‡ “[phone beeps] [gasps] ‘Two stars?! Two stars?’ ‘Wasn't a meaningful encounter’” --NOSEDIVE, BLACK MIRROR SEASON 3, EP. 1 1. Introduction Screenwriters1 and novelists2 have already explored the dystopian prospects of a society where human interactions are constantly submitted to ratings. This is inspired by the growing presence in our daily lives of the possibility of rating work performances, mostly through the well-known system of 1-5 “stars”. This practice is particularly widespread in the gig- economy, with the case of Uber being the most visible example3. In the words of the well- known UK Aslam and Ferrar v Uber case4, this “amounts to a performance management/disciplinary procedure”, as customer ratings are directly used by the platform to decide upon the relationship with the given driver, up to the deactivation of his or her account. However, the use made by Uber of customer’s ratings has also been described as a vehicle for workplace discrimination, in light of the high potential for biases to creep into evaluations for drivers.5 * Ph.D., Postdoctoral researcher at Université Catholique de Louvain and Université Saint-Louis – Bruxelles (Belgium). † Ph.D., Assistant Professor at Vienna University of Economics and Business (WU) (Austria). ‡ Ph.D., Postdoctoral researcher at Hasselt University, Lecturer at Université de Liège and Université Libre de Bruxelles (Belgium). 1 Shteyngart, Super Sad True Love Story, Random House, 2010.
[Show full text]
Valuaton Studies 4(2)
Valuation Studies 1(1) 2013: xx–xx Valuation Studies vol. 4(2) 2016 Contents: Editorial Note: Folded Valuations? ...................................................... 93-102 Claes-Fredrik Helgesson Exemplary Goods: Exemplars as Judgment Devices .......................... 103-124 Erwin Dekker The Organizational Valuation of Valuation Devices. Putting Lean whiteboard management to work in a hospital department ............... 125-151 Amalie Martinus Hauge Handling Rejection as Failure: Aspiring Writers Getting the Rejection Slip .................................................................................................... 153-176 Henrik Fürst Conference note: Classifcation Situations—A New Field of Research for Valuation Studies? ............................................................................. 177-189 Julian Jürgenmeyer and Karoline Krenn LiU Electronic Press http://valuationstudies.liu.se Valuation Studies logo by Rebecca Elfast Valuation Studies is a peer reviewed open access journal connecting several vibrant research felds working on the study of valuation as a social practice. Editors: Claes-Fredrik Helgesson, Technology and Social Change, Linköping University, Sweden Fabian Muniesa, Centre de Sociologie de l’Innovation, Mines ParisTech, France Board of editors: Editorial board (continued): Liliana Doganova, Mines ParisTech, FR Klaus Høyer, University of Copenhagen, DK Martin Giraudeau, London School of Peter Karnøe, Aalborg University, DK Economics and Political Science, UK Paul Kockelman, Columbia University, US
[Show full text]
Gender, Society and Technology in Black Mirror
Aditya Hans Prasad WGSS 7 Professor Douglas Moody May 2018. Gender, Society and Technology in Black Mirror The anthology television show Black Mirror is critically acclaimed for the manner in which it examines and criticizes the relationship between human society and technology. Each episode focuses on a specifically unnerving aspect of technology, and the topics explored by it range from surveillance to mass media. These episodes may initially provide a cynical perspective of technology, but they are far more nuanced in that they provide a commentary on how human technology reflects the society it is produced for and by. With that in mind, it is evident that Black Mirror is an anthology series of speculative fiction episodes that scrutinizes the darker implications of these technologies. Often, these implications are products of particular social constructs such as race, socioeconomic class and gender. It is particularly interesting to analyze the way in which Black Mirror presents the interaction between gender and technology. Many of the television show’s episodes highlight the differences in the way women interact with technology as compared to men. These intricacies ultimately provide viewers with an understanding of the position women often hold in a modern, technologically driven society. Black Mirror is renowned for the unsettling way it presents the precarious situations that come up when technology begins to reflect the flaws of a society. The episode “Fifteen Million Merits” explores, among other things, the hyper-sexualized nature of modern mass media. The episode takes place in a simulated world, where humans exist inside a digital world where all they do is cycle to earn credits, spend credits on products of the media and sleep.
[Show full text]